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  1. Hans Zimmer - The Da Vinci Code

    Well, out of all this discussion and because I had to read an article on the philosophical sources of 17th Century chiaroscuro in art smile .

    Thor wrote
    Well, I think you might be looking for the Bourne riff a little too literally, Pawel. I never said Zimmer copied the riff verbatim, like the aforementioned temp track love in Zanelli's HITMAN. My argument is that it changed his way of thinking about action film music. I think the Bourne influence might show up in your beloved KING ARTHUR first (when it isn't doing the 90s power anthem style). Also in THE LAST SAMURAI a little bit. Both of these have some of the turn-of-the-century Zimmer elements in them (BHD, GLADIATOR), and some of the post-BOURNE sound. But it only really becomes an evident change with the BATMAN scores and beyond.

    I think it's a bit naïve or 'fanboyish' to suggest that Zimmer somehow lives in an ivory tower where he is immune to such influences -- especially when it's pretty close to his own stylings. Heck, one could argue that even John Williams was caught up in this 'general action ambiance of the early 2000s' even if he wasn't referencing it consciously or even being aware of it. At some point, it becomes so ingrained in the cultural awareness of a given period.

    In any case, we REALLY, REALLY need to ask Zimmer this question at some point, and hope for an honest response. Just to settle this disagreement once and for all! smile


    Well, what I think about that turn, aside of whether it's Bourne or not, is that he also got tired of doing the big stuff. I mean, for me, as someone who is a fan, I can't be unable to notice that this kind of stuff in Man of Steel (I think if you wanted to look for Bourne riffs, it'd be the closest thing even!), was already him wanting to go in a new direction (and that score suggests the new directions. I'd argue that there are a few moments in Interstellar that expand on Man of Steel's atmospheric style... they even credit a steel guitar player, one of players on MoS).

    King Arthur isn't my "beloved" score in any way. The more I listen to it, the more I dislike it, even...
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. What makes the Bourne sound so unique and readily identifiable for me is not (only) the ostinato usage, but also the extremely crisp and precise electronica and percussion that drives it forward. Zimmer's ostinati by contrast (at least, in the aforementioned scores King Arthur, Batman Begins and The Da Vinci Code) are far less sharp and staccato - they're washier, less urgent, I'd describe them more as "pulsing" than "driving". You could just as easily argue them as an evolution of those chopping string chords from Backdraft and Black Rain. And the other key difference: Zimmer's percussion writing is deeper, less crisp and less rhythmically complex than what you hear from Powell. Those scores, for me, lack the specific Bourne feel that people like Geoff Zanelli and James Newton Howard and even Brian Tyler and Craig Armstrong have adopted. I'm not saying Zimmer is in an ivory tower or anything, but I'm reluctant to cite Batman Begins as a direct descendant of Bourne.

    There are, however, more apt examples of Zimmer scores that I'd say are directly influenced by Bourne: the aforementioned Frost/Nixon, or also Angels and Demons.
    • CommentAuthorLars
    • CommentTimeApr 13th 2015
    the difference between powells action scores (Bourne scores) and zimmers new action score sound is, that the orchestration and electronics in powells music is very clear and precise. zimmers music is just a WALL of sound and music. his fault is, to make the orchestra sound like samples. and his very simple motifs dont help with the whole impression. his old bombastic scores were also sometimes just a wall of music, but at least you could hear the orchestra and the themes could make you feel whats going on. they enhanced the picture and were alot of fun to listen on cd. scores like Inception, many parts of the Batman scores and also Man Of Steel were just there and i cant listen to them on cd, only a couple of pieces from the Batman music.
  3. Man of Steel has grown on me enormously as have the first two Batman scores. Amazing Spider-Man 2, Interstellar and Chappie are pure bliss. Zimmer at his grandest. IMO smile

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorSouthall
    • CommentTimeApr 13th 2015
    Mary, Queen of Scots - John Barry

    One of his best. Exquisitely beautiful. Shameful rip-off of the Bourne ostinato/riff*.

    *Delete as appropriate
  4. It's more of a passacaghlia for the Wu Tang Clan era.
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeApr 14th 2015
    Southall wrote
    Mary, Queen of Scots - John Barry

    One of his best. Exquisitely beautiful.

    *Delete as appropriate


    Done! biggrin

    When it comes to particular period/historical drama I don't think anybody ever did it better than Barry, Delerue and Morricone.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorBregt
    • CommentTimeApr 14th 2015 edited
    Can the ostinato and riff discussion be moved to a separate topic. Feel free to create one!

    SOLARIS | riff martinez

    Love it. Totally screwed up at the past World Soundtrack Awards. No live percussion. What were they thinking? dizzy
    Kazoo
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      CommentAuthorThor
    • CommentTimeApr 14th 2015
    Bregt wrote
    Can the ostinato and riff discussion be moved to a separate topic. Feel free to create one!


    Sure, but I don't think there's any point anymore, as we've basically been going in circles for the last couple of pages and no one is willing to budge one millimeter. Should I/we get the urge to reawaken it at some later point, we can create a new thread.
    I am extremely serious.
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      CommentAuthorBregt
    • CommentTimeApr 14th 2015
    No problem. Lets close that discussion here then.
    Kazoo